Directed by Billy Wilder
Expectations: Very high. I love this one.
Double Indemnity is the film noir genre at the top of its game. Fred MacMurray stars as Walter Neff, an insurance salesman, and the film opens as he staggers into his office in the middle of the night. He sits down at his desk, grabs the Dictaphone mic and begins to record his tale for the benefit of his boss, Barton Keyes (Edward G. Robinson). This “opening at the ending” trick is always a good one, and the framing bits in Double Indemnity are among the best that cinema has to offer. As Neff’s story begins, he’s out on a routine policy renewal for the auto insurance of a Mr. Dietrichson. But he’s not home, so Neff deals with Dietrichson’s wife, Phyllis (Barbara Stanwyck). After some quick banter and a ton of sexual energy centered around Phyllis’s anklet, the film is off to a juicy start, unfolding its engaging plot at a flawless, even pace that never dulls.
Adapted from a James M. Cain novel, Double Indemnity‘s script is a thing of beauty. Written by Billy Wilder and detective novelist Raymond Chandler, the dialogue zings off the page at a 100 mph. This isn’t quite the rapid-fire of His Girl Friday, but the sleazy, double-crossing characters knock witty lines back and forth as effortlessly as a couple of tennis pros. There are moments when the dialogue does feel a bit overwritten, but when the acting is as superb as it is here, little things like that just fall by the wayside.
But my favorite actor in the film is Edward G. Robinson. His character is so well-written that it would be a gift to any actor, but Robinson owns the role through his sharp, effortless delivery. Keyes not only entertains in every scene he’s in, he also feels like a real person. He harbors an affection for Walter Neff, like a father loves his son, and it’s this unspoken respect that makes the final scene of the film so heartbreaking. Classic acting has a tendency to be overplayed and too broad, but Robinson gives his character an undeniable, subtle believability while also being the larger-than-life character that the film needs.
Double Indemnity is without a doubt one of the best films of all time. It is a film of such quality that it could easily be used as an introductory film for those unfamiliar with classic movies. At times, it still feels fresh and almost modern; the film has definitely aged, but it has aged in the best way possible, like cheese or wine. It is a pure joy to watch, absolutely effortless to enjoy. If you’ve never seen Double Indemnity, you’re truly missing out.
Double Indemnity is the Movie of the Month at the Large Association of Movie Blogs (the LAMB)! Head over to the LAMB site for more reviews of Double Indemnity, as well as the LAMBCast podcast discussing the film!